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ALEXANDER ARCHIPENKO EXHIBITIONS 


The large individual and retrospective exhibitions of Archipenko have 
been shown as follows: 


Hagen Museum, Westphalia 1910 Frankfort 1923 
Berlin 1913 Mannheim Museum SESZS 
Geneva 1919 Prague Museum 1923 
Zurich Museum 1919 New York 1924 
London 1919 New York 1925 
Venice 1920 Chicago 1925 
Geneva 1921 New Orleans 1926 
New York 1921 Kansas City 1926 
Berlin 1921 Philadelphia 1926 
Wiesbaden Museum 1921 Denver Museum 1927 
Hanover 1921 Los Angeles Museum 1927 
Leipzig Museum 1922 Seattle 1927 
Dresden LO22 Tokyo, Japan 1927 


Berlin, National Gallery 1922 


The exhibition, after New York, will be sent to Europe where it will 
be shown in the principal capitals. 


THE GETTY CENTER 


rIOMAOY 
SHAN 


PAR GEIPENSEUIVA @ 
A NEW DEVELOPMENT IN PAINTING 


This invention is dedicated to T. Edison and A. Einstein 


By Alexander Archipenko 


HE press of different countries has printed various articles about my 

invention from time to time. [he communications, however, were 
more in the nature of reports and merely gave resumé outlines of the in- 
vention from an artistic viewpoint. In order to supplement this lack of 
detailed description, I have written this article, which is not intended as a 
manifesto or a theory, but rather as a simple description of the funda- 
mental ideas underlying ‘‘animated painting.’ Parallel with this descrip- 
tion I have pointed out the new form in which modern painting is created. 


WHAT IS ARCHIPENTURA? 


1. Archipentura is neither a theory nor a dogma. It is an emotional 
creation, reflecting, by means of a new pictorial method, that phase of real 
life which cannot be rendered by means of static painting, as the latter is 
completely lacking in adequate means. 

2. Archipentura is differentiated from ordinary painting in that it 
is dynamic, and not static. [hanks to this quality, it opens up entirely 
new vistas of artistic creation. 

3. Archipentura does not exclude the means of painting forms, as 
is done in the various present concepts of ordinary painting. But its ad- 
vantage lies in the execution, on the picture, of actual movements at dif- 
ferent rates of speed and different rhythms and shifting of scene, as well as 
multiple transformations of lines, forms, colors, objects. 

4. Archipenutra is the concrete union of painting with time and 
space. 

5. Archipentura is the most perfect form of modern art, for it has 
solved the problem of dynamism, which up to the present time, has re- 
mained unrealized by means of static painting. 

6. Archipentura is the art of painting on the canvas the true action 
and not merely an immovable image—a snapshot like that of the kodak— 
of a moment given by movements. 

7. Archipentura has nothing in common with mechanical or photo- 
graphic reproduction of the cinematograph, or with the various kinds of 
electrical screen projections. “This is a new means of painting done direct 
by the artist, in perfect subordination to his will or his creative emotions. 


HISTORY OF THIS INVENTION 


Since 1912, in Paris, I have endeavored to record the actual move- 
ments in a work of art, and with this object in view, I have executed the 
animated painting entitled ‘‘Medrano.”’ ‘These attempts, however, did not 
result in attaining the desired end. 

I again occupied myself with the same idea in 1922 in Berlin, under 
the influence of the Einstein theory of relativity. But it was not until 
1924, in New York—in the atmosphere of one of the most up-to-date 


3 


cities in the world—that I succeeded, after numerous technical experi- 
ments, in accomplishing the pursuit of my object. I discovered a new pic- 
torial method for the execution of pictures, and a special apparatus for 
their demonstration. 

I am opposed to all theories in art, because to me art is the emotional 
manifestation of genius and not merely a brain process. It is evident that 
it is hard to determine in questions of art, where emotion ends and where 
calculation begins. However, we may perceive where emotional vibration 
is found and where brain calculation is found. 

As far as Archipentura is concerned, I hold myself aloof from the 
idea that it is cerebral, although for the purpose of painting action, it may 
be necessary to calculate with almost mathematical exactitude the time and 
the speed of the object. In spite of this fact, Archipentura remains an 
emotional creation. 


LIFE AND PAINTING 


It does not call for a philosopher to admit the idea that life is merely 
a form of energy, and that the only concrete form of energy is movement. 
Consequently, movement is life. 

Opinions on art are probably as numerous as the individuals who give 
them. But there is a point on which these opinions all agree: namely, that 
art reflects life. 

Taking these recognized concepts as a basis, I prove that Archi- 
pentura appears as a superior form of art, containing within it life itself, 
since it paints energy. ‘I’here are three fundamental concepts of the reflec- 
tion of life in art. One supposes that life in the art of painting consists 
in fixing that which the eye sees. “The other declares that fixing the emo- 
tions on the canvas expresses life. “The third theory holds that life in art 
consists in the fixation of the painter’s logical conclusions. 

I point out the new concept—which does not exclude the preceding 
ones, but adds to painting concrete energy. And since energy is life itself, 
Archipentura may, with justification, be termed “‘living painting.”’ 


INTERPRETATION 


Up to the present, natural movement (action) in painting remained 
an unsolved problem, since adequate means for executing the same were 
not available in static painting, which limits itself solely to the “‘interpreta- 
tion’’ of movements. 

In order to determine more exactly the value of Archipentura, I shall 
endeavor to point out the difference between the “‘interpretation”’ cf move- 
ment by means of static painting and the execution of actual movements 
by means of Archipentura. ‘The interpretation is recognized as the domi- 
nant element in art. The manner of interpreting is the main factor, since 
it is a question of expressing and determining the individuality and the 
spirit. 

I completely share this manner of regarding it, and also agree with 
the philosophic conception which proves that creation rests precisely in the 
process of interpretation. However, I declare that movement in Archi- 
pentura is not only the object, as in static painting, but the means of 
interpreting things of a more complicated order. ‘The naturalism of the 
movement in Archipentura does not appear as a negative element from the 


4 


viewpoint of art, if the actual movement may be utilized as a new means 
of interpretation. 

Static painting must, in order to interpret movements, resort to sym- 
bols and conventions. It did not advance further than the fixation of a 
single ““‘moment’’ in the series of moments that constitute a movement; 
and all the other ‘‘moments’”’ situated hitherto and beyond the particular 
fixed movement are left to the imagination and to the fantasy of the 
spectator. 

Archipentura gives the entire spectacle of the actual movements and 
utilizes it as a means of interpretation of such manifestations of life as are 
intimately connected with the passage of time and changes of space. in such 
manner that the movement in Archipentura appears as an element, as 
much of interpretation as of creation in general, and not only as an object, 
as is the case in static painting. And it is in this exactly that the superi- 
ority of Archipentura consists. 


MOVEMENT 


‘There are three characteristic kinds of movements. The first expresses 
the sense, or idea. The second contains rhythm. ‘The third kind includes 
abstract movements in which neither sense, idea nor rhythm comes into 
question. All these movements, when they are expressed, represented in a 
clear manner, provoke emotions or associations of ideas or sensations much 
more powerful than any representation that is immovable can give. 

Movement produces more impression than immobility, and finds it- 
self in more direct contact with our psychology than ambiance. At times, 
in observing movement, we feel mechanically inclined to repeat it. Move- 
ment is a language, and a more subtle language. It sometimes happens 
that entire races have their own particular movements, unknown to other 
races. By the movement we recognize the finest shades of character, educa- 
tion, sense, desires, intelligence and even individuality itself, as much in 
man as in the animal. We perceive innumerable shades of movements in 
different materials—light and heavy, of variable elasticity, according to the 
character of their displacement; in liquids, varying according to their con- 
sistency, their quantity and their displacements; in machines, in. plants 
and in all nature. In back of all these movements there is hidden an in- 
finitely rich material which may be utilized in Archipentura, just as the 
artist employs an innumerable quantity of shades of color. Archipentura 
is capable of painting all movements. 


TIME 


Since Archipentura paints movement, and since movement does not 
exist outside of time, the duration and the speed of action intervene in- 
evitably as elements of creation in Archipentura. “The long duration and 
slow movement would certainly not be characteristic of volcanic tempera- 
ment, just as fatigue and melancholy are not consistent with rapid tempo 
and great speed of movement. The amount of time and the dimension of 
velocity permit us to take account into the character and into the sense of 
a given movement. In Archipentura the measure of time and velocity are 
established according to the object, and their proportions represented on 
the canvas give us an idea of the object. Archipentura possesses the means 
of representing on the canvas concrete variations of the duration and vel- 
ocity and is, owing to this fact, connected with time and space. Up to the 


5 


~ 


Woman. Decorative Panel in three different metals, 


Société Anonyme, New York 


The Past. Silver, 1926. | ; 


present, music only has utilized time as an element of creation. Archi- 


pentura is a new form of art which utilizes time and space for creation. » 


Archipentura thus “‘paints time.” 


SPACE 


There exist many gestures of which we define the sense by the measure 
of space occupied by a movement. ‘The sense of movement is represented, 
even in space occupied by lines or abstract forms in movement. If, for 
example, one draws a series of straight parallel lines, commencing with 
very short lines, progressively increasing their length, tracing each line in 
the same amount of time, the difference between the spaces occupied by 
these lines creates, during the execution of the drawing, the impression of 
revolving energy. If on the other hand the length of the lines should be 
progressively diminished, an impression of diminishing energy is created. 
These impressions are born, thanks to the comparisons and to the rela- 
tions which are established between the spaces occupied by each line, gradu- 
ally, in a given time, and equal for each line. But this example with 
abstract lines is far from exhausting the different expression which may be 
realized by Archipentura. ‘This sphere of things has never been accessible 
to ordinary painting, by reason of the purely static character of the latter, 
while Archipentura can utilize space as an element of creation. It is 
evident that Archipentura does not exclude either the principles and con- 
ceptions of immovable space utilized in static painting, as, for example, 
the rhythm of composition, that is to say, the equivalence of distance 
between spots of colors, lines and forms, as well as the space of perspectives. 


It is a truth as old as the world that one recognizes things by com- 
parison. But comparison is possible only by the simultaneous presence of 
several things. Archipentura offers the possibility of executing and repre- 
senting, in even the same point of space, different objects, movements, 
transformations and displacements. “Thanks to these manifestations or ap- 
pearances, comparison is made possible. And by these comparisons, one 
may produce such effects, and call forth such emotions, as would be en- 
tirely impossible in static painting. Apart from dancing, Archipentura 
appears as the new form of art reproducing changes of space. 


It is not my intention to discover the fourth dimension, or to philoso- 
phize or to analyze art and artistic creation. I am simply pointing out 
the ideas connected with my invention, which, according to the opinion 
of persons well able to judge of its value, is the form of art best cor- 
responding to our epoch. On my invention the theory of Einstein has had 
the greatest influence, not from its scientific side, but by the ideas given 
out by Einstein, which are indisputably in accord with creation in general. 
And this opinion is based on the fact that I see in creation, as well as in 
the theory of relativity, the expression and the reunion of such psycho- 
logical states as may be rediscovered in processes of comparison, supposi- 
tion, association and in the idea of infinity. Only these changes and move- 
ments, calling forth a series of psychological processes of this nature, may 
be at the same time emotional. 


Archipentura has no direct relations with the Einstein theory, but it 
is capable of expressing things of a higher order, things which, from cer- 
tain aspects, undoubtedly are attached to the theories of Einstein. 


8 


“—te ty 


— FROM THE PRESS — 


Apples and Madonnas, By C. J. Bulliet, Chicago 1927 


Rodin introduced into sculpture a surface tingle of flesh that marble 
through the ages had not possessed—a heresy—Archipenko has gone 
farther, he has made his forms live with an internal fire. The striking im- 
pressions of vitality. Cubist he has been called and is so designated in the 
already formal histories of the modern art movement. Cubist, however, 
he is not—any more than is Picasso, inventor of Cubism. 

No painter, with the exception of Renoir, has so conveyed the feeling 
of female flesh, warm and magnetic. And Archipenko has done what 
Renoir did not choose to do. Renoir’s nudes are alive but passive. Archi- 
penko’s painted nudes throb—every nerve quivers—feverishly they flame 
upward, like the saints of El Greco. 

Enthusiastic admirers of Archipenko would place him among the 
mythical dozen who grasp the Einstein theory—perhaps at the head of 
the list, since Archipenko is credited by them with applying the Einstein 
theory to statuary—a tremendous feat, seeing how vague and tenuously 
abstract is the theory. 

The mystery of this sculptor goes far deeper than marble and chisel. 

So expert is his technique that he has forced into popular apprecia- 
tion a series of tapering nude female figures, elongated beyond nature, but 
so exquisitely rounded and so marvelously beautiful as pure form, that 
even the most ignorant in art are hypnotized into forgetting comparison 
with bodies of flesh and blood. 

Archipenko at 40 is already a leader among contemporary sculptors 
and undoubtedly certain of a niche through the ages. 


Alfred Kuhn “Die neuere Plastic” Berlin 1921 


Archipenko is of vital importance for the modern art. He combines 
in himself the vigorous instincts and innermost gentleness of the Russian 
with the sophistication of the Parisian. His sensibility and profound 
knowledge of beauty ranks him among the great representatives of the 
French culture. Archipenko masters his handicraft with the greatest skill 
and unerring taste. 


Ardengo Soffici, Florence 1920 


Alexander Archipenko is the only one of the so-called Avantguard- 
istes whose art has a legitimate reason for being studied and loved. 


Brooklyn Eagle, 1924 


Critically there is little more to be said about Archipenko’s sculpture 
than that it is beautiful. In itself it is the strongest plea in favor of the 
cause. All previous prejudices must vanish before the simple, direct appeal 
of these gracious symmetrical shapes. 


Il Nuovo Giornale, Venezia 1920 


Archipenko is not only the phenomenon of the 12th Venetian Ex- 
position, he is a phenomenon himself, the most prominent and the most 
discussed of all living artists. 


Archipenko Monograph in Ukranish, 
by Prof. Nicola Golubez, Lwov 1922 


No Ukranian and but few of the contemporary European sculptors 
have created so large a popularity in the two hemispheres as Archipenko. 
There is not a single educated country who has not noted in its literature 
or who has not spoken of this exceptional artist, either in the form of a 
complete monograph or in its press. First was Germany, then France, 
England, Spain, Italy, America and others. All these countries have had 
the opportunity of becoming acquainted with the creations of Archipenko 
and many pronounce his name with the same interest as connoisseurs pro- 
nounce the name of the creator of the relative theory, Einstein. 

In any case, Archipenko is an exceptionally talented artist and he is 
a dominant figure in the plastics of the age. He has given us a few master- 
pieces created in unusually attractive combinations and in various sub- 


stances. 
Action—Paris 1920 


Archipenko is the inventor of a style but it is not useless for one to 
seek also in him the pure lines of Buddhist art, the sad rhythm of the 
Christian compositions, the striking humility of the negro art, and finally 
the geometrical evolution of his contemporaries whose great traditions he 
continues. 


Archipenko Monograph in English, French, Spanish and Ukranish by 
Prof. Dr. Hans Hildebrandt, University of Stuttgart, Berlin 1923 


Archipenko is the sole creator of the new idea of combining sculpture 
and painting as one art, an idea which dates back to the year just before 
the outbreak of the war. It finds expression in several plastics in 1912 
which represent a cross between man and machine and are the first repro- 
ductions of a constructivism which is now being developed by Russian, 
Hungarian and German artists in a purely abstract form. 


New International Encyclopaedia, New York 1925 Volume II 
Modernism has numerous representatives, chief among them is Archi- 


penko. 
Rul, Berlin 1922 


Archipenko is one of the most serious sculptors of our age. His talent 
and seriousness convince even the most conservative persons—his creations 
are so profound. 

It is not necessary to be a connoisseur in art to understand his work. 
It.is not a question of amazing the public because we see a true desire of 
the artist to find a new path and discover plastic secrets. It is compre- 
hensible that in a short time, Archipenko has been generally recognized in 
all Europe. His works are in first class private collection as well as in 
important museums, even in the far east—Japan. Archipenko is “‘hors 
concours’ with his beautiful plastic. He has many imitators. 


Iwan Goll, Archipenko Album, Paris 1921 


Archipenko was the first Expressionistic Sculptor, if not the first 
expressionistic artist. Anyhow, the young generation in Germany has 
derived much from him. But soon he abandoned. Expressionism and came 
to Cubism and then to himself. For a Genius, all methods are only step- 
ping stones. , 


10 


In the plastic art Archipenko has the same signification as Picasso, in 
the art of Painting. Both ventured into the dangerous paths of new ele- 
ments and new forms, and both conquered them and became leaders of a 
great century. 

Archipenko’s figures are timeless in the highest sense of the word, they 
are miracles of our age. 


Rusky Golos, New York by Nadegina, 1928 


It is indeed a great satisfaction for me to write on the creations of 
Archipenko because I have before me his sculpture and paintings. I feel 
in these the elements of a great revelation which is inevitably in the 
foundation of each veritable artistic creation and because in the colossal 
realization of Archipenko, we see new aesthetical possibilities in form of 
sculpture which seemed exhausted after Michaelangelo. 


Chicago Evening Post 1925 


Keenly intellectual like Picasso is Archipenko, and like him has a 
mathematical mind in which abstractions resolve themselves into concrete 
forms hopeless of comprehension by anyone to whom the spiritual essence 
of mathematics is nonexistent. 


Max Osborn, History of Art, Berlin 1920 


In modern painting and sculpture, the perceptible and realistic prin- 
ciples are abandoned and a new idea leads into the construction of the 
spiritual. “The founder of this movement was the Russian Alexander 
Archipenko. With all the consistency of his great artistic personality, he 
is striving to show in the substantial body nothing but its constructive 
law and its function. 


Archipenko Monograph in French Valori Plastici, Rome 1922 
The efforts of the contemporary sculptors have been crowned with 
success in that which concerns the renewal of the technique of art. Archi- 
penko is amongst those who have done the most towards its development. 


Rocky Mountain News, Denver 1927 

If Archipenko’s forms appear new to us, it is because their aesthetic 
conception has been inspired by new forms of life; by vital factors of a 
new civilization. Archipenko has had the courage and. the strength to be 
of his period from the very beginning. ‘Therefore his work is also of the 
future. 

In looking over the tremendous output of Archipenko’s work and its 
unbelievable variety of forms, we come to the conclusion that he is one of 
the most problematic, most vital, most creative spirits of our period. 


Karl Woerman, Geschichte der Kunst; Leipzig 1922 


The leader of the real Modernists and Radicals is the Russian Alex- 
ander Archipenko, a Parisian says ‘An infatigable juggler, Archipenko 
plays with earth and forms like a Prometheus, and how near is the day 
when Europe will be proud of Archipenko.”’ 


Los Angeles Times 1927 


There is in Archipenko’s work something essentially of this age, swift 
rhythmic movement and clarity are the immediately noticeable features. 


11 


White Torso. Marble, 1916. 


One exemplary in the National Galerie, Berlin. 


Another exemplary in the Art Club, Chicago. 


L920; 


Melancholy. 


Spoloky 1922 Berlin 


Archipenko did not play the role of a primitive or naif man. He 
has added to all the material of his soul, all the things which have been 
created by humanity, the imposing things in art. He has studied and 


grasped all the styles. 
Shadowland 1923 


Alexander Archipenko is looked upon by earnest critics as the dom- 
inant spirit of the day in the field of plastics. His experiments with metals 
are bold attempts to conquer new materials for his art. 


Introduction for catalogue by Dr. Christian Brinton, New York 1924 


Twenty-eight continental museums have honored his art by pur- 
chase, and there have been held since the war alone, sixteen separate ex- 
hibitions of his sculpture and painting in as many different European cities. 

The reasons for this spontaneous reaction to the art of Archipenko 
are not far to seek. They reside chiefly in his aspiring modernism. If the 
mercurial Marinetti is the literary fugelman of the modern spirit, and the 
protean Picasso its representative painter, Archipenko occupies a similar 
position in the province of sculpture. Each in his way is a convinced, and 
convincing protestant. 


John Schikowski, Deutsche Zeitung, Berlin 1921 
Archipenko blazed a new trail for the European sculpture. 


Springers Kunstgeschiehte, Berlin 1920 


Archipenko’s influence has proven to be extremely strong and cap- 
tivating for the younger sculptors. 


Brooklyn Eagle 1926 


Archipenko’s fine craftsmanship is again evidenced in his ability to 
give surface interest, beauty of texture, and color to his carefully studied 
and balanced forms. 


Introduction for a Catalogue, by Yvan Goll, New York 1921 


To-day Archipenko surpasses, by his mastery of an altogether per- 
sonal form, all the hopes of which modern art was formerly theught cap- 
able, and furnishes us not only in his plastic art but in his more classic 
designs with works of art which will remain as high testimonials to our 
epoch. He has his followers in every country, and the entire young gen- 
eration is inspired by him. His courage in utilizing several metals at the 
same time has resulted in another innovation of which the consequences 
are still further reaching. 


Presse et Revolution, Moscow 1927 


One of the first revolutionists in the French sculpture, who shook the 
foundation of the habitual conception in art, was, without doubt, Archi- 
penko. In the artistic researches of Archipenko, it is necessary to first see 
his energetic protestation against the comprehension of plastic which pre- 
vailed at the beginning of this century. 

In this case, Archipenko’s influence in the development of the Euro- 
pean sculpture during the period of 1914-1920, was, in many cases, 
analogous to that of Picasso in painting during this same period. 


14 


AYN 


Oy 1 


25. 
26. 


GON BEV EOKG AUS 
Archipentura, Prelude Seven 


S@UL PT URIs 
W. Mengelberg in the IX Symphony of Beethoven 


Wilhelm Furtwaengler 


Thornton Wilder 
Courtesy of Mr. Bont, N.Y. 


The Dream 
Two Souls 


One exemplary in collection Tokyo, Japan 


Melancholy A 
Melancholy B 
Onward 
Diana 
Courtesy of Mr. and Mrs. M. Gutman, N.Y. 
Young Girl 
ihe Past — Mask 
The Graceful Movement (Concave) 
One exemplary in collection D., New York 


Fragment 
One exemplary in collection F., Geneva 


Angelica-Head (Variation 6) 
Tanagra Motive (Concave) 

One exemplary in collection F., Berlin 
Statuette (Concave) 

One exemplary tn collection E., Tokyo, Japan 
Woman Dressing Her Hair (Concave) 

One exemplary in collection I., Tokyo, Japan 
Sitting Torso 

One exemplary tn collection N., Tokyo, Japan 
Glorification of Beauty (Concave) 

Courtesy of Mr. and Mrs. H. Caesar 
The Last Moment of the City of Pompeii 
Spring Torso 

Courtesy of Mr. and Mrs. S. Hartman, N.Y. 
Woman Turning 

One exemplary in collection R., Bremen 


White Torso 


One exemplary in National Galleries, Berlin 


Bronze, 1926 
Bronze, 1926 
Plaster, 1928 


Bronze, 1925 
Bronze, 1925 


Bronze, 1925 
Bronze, 1925 
Bronze Le.) 
Bronze, 1925 


Bronze, 1926 
Silver, 1926 


Silvered Bronze, 1923 


Bronze, 1909 


Bronze, 1925 
Bronze, 1914 


Bronze, 1914 
Bronze, 1914 
Bronze, 1909 


Silvered Bronze, 1925 


Bronze, 1925 


Gilted Bronze, 1925 


Bronze, 1925 


Silvered Bronze, 1916 


Exhibited exemplary: Courtesy of Mr. and Mrs. P. Reinhardt, N. Y. 


Flat Torso 
Courtesy of Mr. R. Loewy, N.Y. 


Woman Standing 
One exemplary in Museum of Rotterdam 


15 


Gilted Bronze, 1915 


Bronze, 1921 


IRD 


23 
2. 


SINE 
ahs 


a2. 
5% 
See 


35, 
36A. 


3 6B. 
CVG 


Seen 


bik 
40. 


mile 
AZ. 


need 
= da 
ae 
a0; 
ae 
438. 
40 


50. 


Se 
as 
jo: 


Kneeling 


One exemplary in collection W., New Orleans 
Rape 
Black Torso 


One exemplary in Museum of Mannheim, Germany 


Man 


One exemplary in collection S., Berlin 


Woman Sitting 
One exemplary tn collection W., Frankfort 


Promenade 
Tete a l’Egyptienne 
Woman Bending 


One exemplary in Museum of Vienna 
One exemplary in Museum of Ossaka, Japan 


Silhouette, Woman 
Vase 


Gilted Bronze, 1925 


Bronze, 1925 
Bronze, 1909 


Bronze, 1922 
Bronze, 1923 


Bronze, 1925 
Bronze, 1925 
Bronze, 1921 


Bronze, 1913 
Bronze, 1916 


Courtesy of Miss K. Dreier, Pres. of Société Anonyme, N.Y. 


Vase 
Folded Arms 
Courtesy of Mr. J. B. Neuman, N.Y. 


Head 
Courtesy of Mr. and Mrs. M. Gutman, N.Y. 


The Pearl 


Feminine Solitude 


One exemplary in Museum of Mannheim, Germany 
One exemplary in Museum of Frankfort, Germany 


Gray Torso 
Courtesy of Mr. Howe, Philadelphia 


Repose 


One exemplary in Staedtisches Museum, Essen 
Group 
Lying Torso 
Statuette in different styles 
Classique Torso 
She Is Sleeping 
Empire 
Black Figure 


One exemplary in private collection, Frankfort 


Symmetric Torso 
Courtesy of Mr. L. De Motte, N.Y. 


CERAMIC 
Caryatid 
She Walks 


Salome 


16 


Bronze, 1916 
Bronze, 1922 


Marble, 1920 


Marble, 1926 
Marble, 1921 


Marble, 1922 
Marble, 1909 


Original Plaster, 1922 
Original Plaster, 1923 
Original Plaster, 1926 
Original Plaster, 1925 
Original Plaster, 1925 
Original Plaster, 1925 

Cement, 1921 


Marble, 1922 


Ceramic, 1927 
Ceramic, 1927 
Ceramic, 1926 


Ceramic, 
Ceramic, 
Ceramic, 
Ceramic, 
Ceramic, 
Ceramic, 
Ceramic and Mosaic, 


Ceramic and Mosaic, 


Head 

Promenade 

The White Head 
Near the Lake 


The Head 
(Melancholy ) 


Two Sisters 

She Is Sitting 
Model 

Wounded 

Mother and Child 
Woman Seated 
On the Terrace 
Young Girl 


Portrait of Mrs. 
Martin 


Portrait of Mrs. 
Dahlberg 


She Goes 
Draped Torso 


54. Leaning 
55. Group Two Women 
bo. Head 
oy weose Lorso: . 
58. Woman's Head 
59. Girl Sitting 
60. She Goes 
61. She Listens 
SCULPTO-PAINTING 

62. Small Red Vase of Flowers on Table 
62.0 Bather 
64. Woman (Different Metals) 

Courtesy of Miss K. Dreier, President of Société Anonyme, N.Y. 

PAINTING 

65. Bather 1926 83. 
66. English Woman 1927 84. 
67. Abundance 1926 Boe 
68. Sadness 1926 86. 
69. Melancholy 1927 87. 
7-2 l:orso 1926 
Mipe-Caryatid 1926 88. 
72. Towards Another 89. 

(lst Variation) 1926 90. 
73. “Towards Another 91. 

(2nd Variation) 1927 97 
74. Dreamer 1926 on 
Woe; he Pearl 1925 an 
76. Two Women 1926 95. 
77. Still Life 1925 oe 
78. Lady with Fan 1923 
79. Draped in White LOoT: 97. 
80. Draped in Blue BS er 
81. After the Bath 1925 98. 
82. She Reads 1928 99, 

DRAWING 

100 to 117 


17 


Lo 27 
1926 
1928 
1928 
1928 
1928 
1928 
1928 


BY09 
LOLS 
1923 


1928 
LO2/ 
1928 
Lely, 


1926 


1927 
1928 
LOzy, 
1927 
1928 
1928 
1928 
1928 


1928 


1928 
1928 
1928 


Glorification of Beauty.  Silvered Bronze, 1925. 


One exemplary in the collection D. New York. 


oa) 


Bronze, 1926. 


Young Girl. 


LITERATURE ON THE WORKS OG 
ALEXANDER ARCHIPENKO 


ARCHIPENKO MONOGRAPH—in French, German, Ukranian, and English 
by Professor Dr. Hans Hildebrandt—Berlin, 1923. 


ARCHIPENKO MONOGRAPH—in German—by Dr. Erich Wiese, 1923. 


ARCHIPENKO MONOGRAPH—in Spanish—Editora Internacional 


—Buenos Aires. 
ARCHIPENKO MONOGRAPH—by Roland Schacht—Sturm Edition, Berlin. 
ARCHIPENKO MONOGRAPH—in French—Broglio Edition, Rome, 1922. 
ARCHIPENKO MONOGRAPH—by Nicholas Golubetz, Lwow, 1922. 


ARCHIPENKO ALBUM—by Theodor Daubler, Iwan Goll, Blaise Cendrars 
—Edition G. Kiepenheuer, Potsdam, 1921. 


ALEXANDER ARCHIPENKO—Sturm Bilderbuecher—Berlin, 1915. 


Numerous books on the History of Art and Encyclopedias. 


20 


AO, RtOQ/_/ 


yi 


16 WEST 61st STREET 
NEW YORK CITY 
Phone: COLUMBUS 4813 
SCULPTURE 
PAINTING 
DRAWING 
CERAMIC 
MOSAIC 


Ercole Db Art 


